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When Sophie Le-Phat Ho invited me to join .dpi’s editorial commitee in January 2013, I had no idea that a year later I would be taking on the role of acting editor-in-chief for the three most recent editions of the journal. This new issue ends a publishing cycle spanning the period from 2004 to 2015. .dpi has evolved a great deal since it was created, and has positioned itself effectively as a platform and a cultural space that is critical and open; it has become essential to the discourse surrounding today’s feminist artists connected with the digital arts. The mandate of .dpi is to meet an existing need and to make links within a very specific community. The .dpi website continues to be an impressive resource, archiving lots of high-quality content. I would like to congratulate all those who have contributed to .dpi over the years and who have helped make it an institution that remains at the forefront, promoting exciting new ideas. The new formula will emerge after a reflection that will take place this fall: it promises to continue to address the scenes and communities it supports.

Even in 2015, identification as queer is extremely taboo in certain societies, sometimes to the point where lives are actually threatened. However, in the face of isolation and repression, spaces of refuge exist online. In the most recent issue, Mikhel Proulx, cultural researcher in contemporary art and digital visual cultures, steps into the role of guest editor-in-chief and looks at questions concerning the flourishing of queer culture on the Internet. Issue 32, Queer Networks, assembles articles and works that explore the spaces for expression online that affect queer communities: zones of creativity that allow for the sharing of ideas and the development of a feeling of belonging and safety, and a sense of comfort.